With a rowdy audience, the trick is not to go louder and try to beat them into submission. It's to go quieter. As they get loud, you get soft. Then they lean in towards you to listen.
That's always the trick with the sequels, is how much do you repeat from the first one. Because we all get bummed out when you go see a sequel and it's beat for beat.
Writing is like everything else: the more you do it the better you get. Don't try to perfect as you go along, just get to the end of the damn thing. Accept imperfections. Get it finished and then you can go back. If you try to polish every sentence there's a chance you'll never get past the first chapter.
I use a progressive alarm that makes a soft sound at first and then progressively gets louder. But I usually wake on the first sound, so it doesn't disturb my wife. When I used a loud alarm clock, I was more likely to hit it on the head and go back to sleep.
If I can get the audience to connect with the characters emotionally - and they love who they are, they love the larger-than-life situation that they're in, but most of all get the audience invested in the characters - then I always feel like I can sort of put them in the most outrageous circumstances, and the audience is okay to go with that.
I don't know how to relax. I get so edgy and instantly I'm ready to go. I don't like to waste any time. I try to use up every minute until I get tired, and then go home, rest for an hour, and then go. But I don't ever actually relax.
When I was younger, I would go to auditions to have the opportunity to audition, which would mean another chance to get up there and try out my stuff, or try out what I learned and see how it worked with an audience, because where are you gonna get an audience?
Being in front of the audience, letting my audience see me in person - it is real intimate, you get to make them laugh and cry, they get to feel you. And then afterward, we go out and do a meet-and-greet session with the fans. It was just a wonderful experience. I really, really enjoyed it.
When you do a 'messa di voce,' that means you start soft, you crescendo into loud - and then you go back to soft again. Some people call it circus tricks, but in bel canto, it's really written into the music.
I get up, I have breakfast, go work out, go to my eye appointment, come home, relax for a couple hours, and then go get my kids from school and start carpooling them around to their different activities and things they do.
My process for the parodies is that I get an idea for a song and then get approval from the artist and then go in and record it and probably try to get it out as soon as possible.
I run around, I listen to a lot of music, go to a lot of concerts. And when I see someone that gases me, I try to go out of my way to involve them somehow in what I'm doing or get involved in what they're doing.
.. I get more of a dreamy thing from the audience - it's more of a thing that you go up into. You get into such a pitch sometimes that you go up into another thing. You don't forget about the audience, but you forget about all the paranoia, that thing where you're saying, 'Oh gosh, I'm on stage - what am I going to do now ?' - Then you go into this other thing, and it turns out to be like almost like a play in certain ways
I've had time to taste fame, but I definitely lean towards being the kind of actor where I'm happy to be able to walk down the street and go to the corner store and not get hassled.
I love to go into John Varvatos and look at the beautiful leather jackets. They're beautiful and soft. I try them on, and then I look at the price tag and go and pick up a t-shirt. It's just the way I am.
I would have to work on the song and figure out how they wanted the song done, because they're such high-intensity songs. We figure that out first, then I go back and listen to it and go over and rehearse stuff with it and try to get a feel for the words.
If you see really bright lights, or hear really loud noises, go towards them, don't run away from anything. It's like giving someone instructions on how to handle a bear, don't run away from it. Stand up and try to make yourself look as big as possible. Don't give it the signal that it should chase you. And that's the case with the after death visions. Don't go for dark seductive lights, go only for bright lights.